Tag Archives: Music Industry

This is one of those reviews that I am going to struggle writing as I can find almost nothing to improve upon in this song. When a person has so much respect for the two songwriters who wrote it, it is hard to give them constructive input. Donovan TuckerMike Gladstone‘s Yellow King made my day and is why I started Broadjam – to get the opportunity to hear songs like this.

Donovan Tucker

This is an instrumental that begins with an “outlaw surf” guitar sound reminiscent of Eddy, Orbison, etc. It is played so tastefully that I could have stopped the song at 25 seconds and been completely happy with it. Behind the incredible guitar tone, percussion filled the spaces. A ratchet-like sound, along with some other effects, were strategically placed to support the snare landing on 4 (if you count like I do.) Brilliant use of simple instrumentation to make a great piece of music. I don’t know if I have ever listened to an instrumental ballad that was produced to this level of quality.

Mike Gladstone

The first guitar continues with a beautiful melody until approximately 47 seconds and then a classy flamenco guitar sound enters and tears it up. The feel of the performance and the tone of this guitar sound and performance is inspiring. As I am listening, many guitar gods are going through my head, Chet Atkins, Les Paul, Mark Knopfler, Lee Ritenour, Joe Walsh, Jon McLaughlin, maybe a little Hendrix, etc. One can always tell when a player has put their 10,000 hours in…..because they know when NOT to play. The spaces between the notes in this piece are as strong as the notes that are played. If this is the same person playing both of these parts, I am blown away. This is some of the best and tasteful work I’ve have ever heard.

Ok, now on to the song. This could easily find a place in a film. When one closes their eyes and listens to this, the scenery just flies by in your head. Instrumentals need to invoke an emotion or vision to be good, this does both. This made my personal playlist immediately within one minute and will be heard by many of my friends.

It is so hard to find anything constructive to say when a piece is done this well. So I will preface my comments with, “don’t change a thing.” But I also know that writers of this caliber want that detailed input to make their next project better.

If this was my song, there are just a couple of things that I might consider tweaking (if I was totally bored and didn’t have anything else to do.) 1.) The bridge comes in around 1:32 and a backup up synth pad is behind it. (Sounds like an old M1.) Since the tone of the patch is similar to the frequency range of the guitar, I might play a couple inversions up on the keyboard, or an entire octave. 2.) At 2:13 when the song and melody return to the verse, the ratchet-like sound and guitar are slightly off each other – the first time through I thought it might be distortion. So in a re-mix, I would edit these to begin at same time and bring the percussion slightly down in the mix for that first hit. Again, I emphasize that I find myself digging to really find something that I would improve. I am not sure either of these suggestions would advance the song or it would just sound more appealing to my own ears.

Mike Gladstone & Donovan Tucker are both great songwriters on their own. Working together they have produced a home run and certainly captured my attention. Great work to both of these writers and I hope they continue working together.

Simply put, I love this song and the production. The sound selection around your vocal tone is just perfect. And speaking of vocal tone, it is unique and great. Kudos to you and the producer. One of the best songs I have heard in a while. It is difficult to provide feedback as I am not sure I can add much. Here goes; Roy Elkins

Song begins with a perfectly tuned acoustic guitar. A very tasteful “swell” enters at 12 seconds. Good vocal on top of the acoustic in the first verse, band begins to enter tastefully at 38 seconds. Backing tracks make the vocal shine and build nicely to 1:18, then back to the verse with the ag pulled back in the mix until later in the verse. Build begins and the listener can feel the subtle energy in the song. Really nice production…….

The lyric would be a great piece of poetry on it’s own. Love the line, “Like helicopters fall in fall from the maple trees.” I live on a farm and my yard is filled with helicopters at the moment.

I had to dig and listen several times to give any constructive feedback. If it was my song, I may start it right at 12 seconds when the swell begins or bring the acoustic back in at the very end of the song to resolve it…. I am not sure the opening line is as strong as the rest of the song. In a song of this caliber, the opening line is extremely important, but I don’t feel it sets up the song as well as it could….Guitar lead enters at 2:52, possibly a little too up front in the mix….The bridge is a little weaker than the rest of the song, but still strong….One last thought. Although I love the vocal phrasing, I am not sure the rhythm of the vocal is ideal for the current pop market. Do the following – Listen to your song without the vocal track and tap the rhythm of the current vocal as you are listening. I am sure you will hear some conflict with the rhythm of the band. If you feel inclined, try and sing the vocal a little more rhythmically with the tracks and see what you come up with. This also might bring melodic hooks more to the forefront. For my taste, it’s perfect the way it is and it has already made it into my playlists. But my tastes are not at all in line with what’s on the radio.

With your permission, I am going to send this to a few other people.

Great work….It’s a great tribute to your wife. I bet she is thrilled with this.

I’ll be honest, this review of Jamie Lynn Fletcher and her music is biased. She is one of my favorite Wisconsin artists and is truly a talent to be reckoned with. If I was an A & R person at a label, she would be in our roster. An incredible writer, arranger and performer who is in a league of her own. Hope you enjoy this! Roy Elkins.

Through the influence of my mother and her record collection, I grew up listening to a lot of great singers and songwriters. To this day, I find myself playing Hoagy and Gershwin a couple of times a week at the piano. But I am not sure one has to grow up on this type of music to connect with Jamie Lynn Fletcher and her songs. It helps, but her songs are so well written that the listener engages immediately. I wouldn’t be surprised if at some point in the future, someone will be sitting at a piano playing her songs.

In songwriting circles, we talk about the lyric and the melody being “married” to each other. In this case, she has progressions, lyrics, melodies and a performance all standing at the altar together. She is clearly a veteran who has played hundreds, if not thousands of gigs and has perfected the delivery of her own songs. One is not born with this talent, this is an example of Gladwell’s 10,000 hour rule at work.

Live Performance

Here are my thoughts on a few of the songs in her songlist, which can be found here:

The Fool – Just an awesome performance of an awesome song. Great vocal on this. Cons: Vocal is too hot on the mic. Distortion is present and any licensee would definitely ask to have it re-cut. In some ways the distortion adds an interesting quality to the song, but I do think it’s a showstopper.

Infatuation – Pros: Another strong vocal with great feel. Love it when the groove kicks in at 3:13. Cons: Tough to place this kind in film & tv….Broadway producers would be a good target for this.

My Love For You – Pros: Good vibe, nice juxtaposition with the vocal and guitar. A very visual song. You can watch the performers playing this while listening to it. Cons: Not really any serious problems with this track. There are some slight noises that could be edited out.

Proper You – Pros: Excellent lyric. Great marriage of lyric, melody and progression. Cons: Musically none…..slight noises in the tracks.

The eq’ing of the vocal is excellent and the mic choice was right on. Arrangements were as tasteful as I have heard in a long time. Her ability to “leave things out” is amazing. I know what you’re thinking, “What the hell does he mean by that?” These songs are so good, it would be so easy to add horns, strings, backup vocals, etc. and the writer/producer keeps them simple, sexy and clean. Great work.

At the piano

The only downside I see is that the vocal recording was a little hot on a couple of the songs and a few artifacts remain on the tracks throughout most of the songs. Sometimes you may want to leave things like a breath, vocal expression, etc., but noise in the process could easily be removed with an editor. If one is listening for enjoyment, these things don’t matter. However, when someone is considering the song for any type of broadcast, it needs to be free and clear of noisy artifacts. Anyone who listens to lots of music everyday will hear these immediately.

Although I have only included my notes on a few of the songs, her entire list is strong. If you are truly interested in supporting an artist that has worked extremely hard and perfected her craft, buy her songs. You can do it here.

Here is my follow up to Acceptance, which is now renamed Love Is In The Things I Do. I think it was a good idea to change the name of the song. It is now searchable and memorable. Thanks for the opportunity to hear your music. Roy Elkins

The song continues to get better with each version and this singer knocks it out of the park on this one. Near the end it even sounds a little “broadway” like to me, which I love. It opens up the possibilities for this song. She has a big voice and I love to hear more of her stuff.

One other note that I’m not sure I picked up on the first time through. Although I like the feel, it is a little “Halloween” like in the intro. Part of me says this really works, the other part has to think about it. Maybe that’s the magic of it. With that said, I wouldn’t change it unless it continues to hit walls.

Technical: There are clear points that the vocal is too hot and this needs to be addressed as it will prevent this version from making it to any broadcast format. This sounds to me as if the effect was to loud in the mix as the distortion kicks in slightly after the singer hits the note. I am not sure this is the case throughout, but if it is, this can be easily fixed in the mix. Some examples of this are at 1:22, 1:31-1:34, 2:20, 3:00 and many other more subtle places as well.
This is an incredible voice that is buried in reverb. The singer does a great job at pulling off the mic between 2:40 – 2:45, so it sounds like the effect was added after it was sent to you. If this is the case, then I would pull the verb back a lot or put a compressor in the vocal chain before the the signal hits to the verb. This won’t eliminate the amount of verb, but it will eliminate the distortion. If the track was sent with this verb, then it needs to be re-cut or re-sent without the effect.

Bob Bentley

Lastly, I still think the lyric is a little confused as I mentioned in the first review. If this was going on a record, there would be a re-write with the producer and/or artist…..or they would ask for a re-write from you….but you may not get that opportunity, so I would try and get it tweaked as soon as you can.

Summary: Metadata has not been added and needs to be. Vocal mix/verb needs tweaking. Lyrics need a re-write…..Feel is excellent and singer is great.

I love the feeling of this song. This is clearly one of those songs that was written from a tough experience the writer faced. The feeling is well conveyed in the melody and the chord progression of the song. The singer has remarkable tone and with the right producer could really knock songs out of the park. If I was him, I would explore working with other producers as he sounds a little tentative at times, but has amazing tone.

In some songs the writer is creating from their heart and may never want to change it. As I have mentioned in previous reviews, I have several songs that I won’t change as they have profound meaning to me. But I also understand they are not very marketable in the current form. I can’t speak for the writer, but that may be the case here. He/she may be just getting something off his/her chest and this song could be doing exactly what it was supposed to do. Only one person knows if it is.

A couple of technical issues that should be easy to address. Make sure all metadata (specific information such as subject matter, lyrics, mood, etc.) is filled out. This is critical on our site and all the others as well. If someone was searching for a “Lost love” ballad, it wouldn’t be found and it deserves to be.

Also, the title of the song is “Acceptance” and I am not sure the title and the hook are one in the same. Obviously, there have been numerous songs without synchronized titles and hooks. But we are in a new day of search and discover. If someone heard this song and wanted to look it up, they would never type the word Acceptance into the search engine. A better title might be, “Love Is In The Things I Do.”

No lyrics were listed either. This is also very important.

It sounds as if the lyrics just emotionally flowed out of the writer and there wasn’t much tweaking done after the first pass. This is not a bad thing, just my thought as I write this review. Here are some specifics: The first line sets up “her” and much of the song is about “I.” “You will never change, but I tried to be the best that I can be.” Maybe could be “I was hoping I could change, but I tried to be the best that I can be.” The first line is really a contradiction to the rest of the first verse. Why won’t she change? “Sad affairs” were slightly mentioned later in the song, but the first line has almost no literal meaning to the rest of the song, but I am sure it has heartfelt meaning to the writer. “You brushed aside the love we used to share. It’s not that I don’t care.” She was the one who brushed it aside. A more effectively lyric might be, “You brushed aside the love we used to share. It seems that you don’t care.” If the guilt is put on her, the listener will be much more empathetic to the singer. The song is much more effective if it is about “her” or “I”…..or skillfully goes back and forth between the two, which is very difficult. Try re-writing this lyric both ways with no music playing. Every line is about “her” or every line is about “I.” I think this will help evolve the lyric and you could draw from each to give the back and forth that could make this song extremely effective. With that said, the heartfelt message is conveyed through the emotion of the arrangement, just not as literally and efficiently as it could be.

At 2:55, the instrumental bridge arrives and the music sounds as if there is going to be a positive resolution, but there isn’t. Although I love the music and synth-string arrangement in the bridge, I don’t think it works in this song. Also, the strings cut out pretty abruptly at 3:24.

Overall, the song is good and has strong potential. If you can swing it, find a local producer who has worked on hundreds of songs and make a deal. Putting another set of ears on this will really help. I didn’t address the production, but it isn’t broadcast ready in the current form. A producer would also help on the mix and eq’ing of the instruments and getting it to a broadcast ready product.

If this was my song, this is what I would do: I wouldn’t change the music or feeling at all. It nails the message of the song. I would re-write this lyric over and over and over until perfect and married to the music. I would lose or change the bridge as I’m not sure it adds much. Also, it would shorten the song as well. It is too long for any airplay. I would input the metadata.

A couple of days ago I met with a group of folks at the Les Paul Summit in Milwaukee. This meeting was hosted by the Les Paul Foundation whose purpose is to share the life, spirit and legacy of Les Paul by supporting music education, engineering and innovation, as well as medical research.

Roy Elkins with Les Paul

I couldn’t think of a better way to kick off this blog than to mention that the 100th anniversary of Les’s birthday is next year. Numerous events are being planned in Wisconsin and around the country. If you would like to get more information, you can follow this link and join the community of us who have been so influenced by Les Paul.

Right after his death, I wrote a quick blog about Les. After re-reading it a few minutes ago, I found myself thinking, “I left out this story and that one.” His curiosity and fascination with the unknown was infectious and never stopped. At the same time, he gigged with his band at the Iridium right up until his death. I honestly could write for hours about the impact he had on my life, directly and more indirectly with his inventions. Here is a link to the blog on Broadjam.